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The Star Gleams: A Com¬ 
munity X-mas Choral: by 
Florence Lewis Speare 


Samuel French: Publisher 

28-30West Thirty-eighth Street: New York 

LONDON 

Samuel French: Ltd. 

26 Southampton Street, Strand 


PRICE THIRTY-FIVE CENTS 





THE STAR IN THE EAST. Bible play in four acts by Anna 
Jane Harnwell. 9 males, 4 females. Plays a full evening. Biblical 
costumes. This four act drama is one of the prize plays resulting 
from the contest recently held by the Drama League of America 
in the hope of securing much needed Biblical scenes for use in the 
religious schools. A drama of the Book of Esther. It is written 
in blank verse, and adheres closely to the Bible narrative. Mor- 
decai is the star role for a man, but the characters of Esther, 
Vashti and the King are almost equally good. The very beautiful 
and dramatic setting of the Old Testament story makes it quite 
as interesting as a secular production, though it is especially suit¬ 
able for church or Sunday School use. Settings as simple or as 
elaborate as desired. Price 35 oents. 


JEPTHAH’S DAUGHTER. Biblical drama in 1 act, by Elma 
Ehrlich Levinger. 5 males, 6 females. This one-act drama of 
the time of Esther is one of the prize plays resulting from the 
contest recently held by the Drama League of America in the hope 
of securing much needed material on Biblical themes for use in the 
religious schools. It presents the familiar story from a new and 
dramatic angle, with a strong element of suspense. The characters 
are vividly drawn, the dialogue poetic without being stilted. It 
may be presented either with simple settings and a small group, or 
as a pageant play with elaborate scenic effects, a large cast and 
interpolated choruses and group dances. Price 35 .cents. 


THE NATIVITY. A Christmas festival composed entirely of selec¬ 
tions from the Bible story of the Nativity, arranged as a mystery 
play. It is accompanied by carols and is adapted for easy pro¬ 
duction by children or young people, to be given as a service at 
Christmas time in the churches. The “Nativity” was published 
a few years ago in the “Youth’s Companion.” Since that time 
there has been so large a demand for it by churches of all de¬ 
nominations we have arranged for its publication. Price, 35 cents. 


SAMUEL FRENCH, Publisher, 28-30 West 38th Street 





The Star Gleams 


A COMMUNITY X-MAS CHORAL 


“THE STORY OF THE STAR” TOLD 
ENTIRELY BY USE OF COM¬ 
MUNITY SINGING 


By 

FLORENCE LEWIS SPEARE 

Lecturer on Drama at Johns Hopkins University, 1920-1921. 
Dramatist and Producer of “Pilgrim Tercentennary Pageant,” 
given in Baltimore/ Md., under auspices of the 
English-Speaking Union. 

Author and Producer of “Nativity,” a Medieval Interlude, 
presented as a Community Drama in Baltimore, Md. 

Charter Member of Workshop Theatre, Harvard University. 
Author Henry Jewett Production “Let’s Go Gardening,” 
Boston, Mass. 


Copyright, 1922, by Samuel French 


New York 
SAMUEL FRENCH 
Publisher 

28-30 West 38th Street 


London 

SAMUEL FRENCH, Ltd. 
26 Southampton Street 
STRAND 



o 



This play is dedicated to 
Dr. Hugh Birckhead, rector of 
Emmanuel Church 


The following out-of-door setting is used in pre¬ 
senting this play before the Christmas Tower. It 
may be employed before the doors of any church, or 
any public edifice. 

A temporary stage is erected each Yule-tide be¬ 
fore the Christmas tower. Its length extends across 
the front and out to the edge of the sidewalk. The 
choir of Celestial (hidden) voices stand directly be¬ 
hind the back-drop, which forms the background for 
the tableau of the Holy Family, which covers the 
central, or main, door in the church tower. The 
Three Shepherds make their appearance upon the 
stage by coming from the main body of the church 
through the door to the left of the main door. The 
Three Kings and their attendants appear upon the 
stage coming through the door to the right. Tem¬ 
porary steps are built either side of the stage for 
the use of the Shepherds and the Kings. The Spirit 
of the Star enters from the center, appearing sud¬ 
denly in the midst of the Holy Family, and walking 
toward the front of the stage, where he stands, as he 
speaks the message of the Christmas Star. He slips 
through at the side of the back-drop to make his 
appearance close to the cradle, above which the 
Virgin bends in adoration. 


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The Star Gleams 

A CHRISTMAS COMMUNITY CHORAL 

“The Story of the Star” told entirely by 
Community Singing 

2 Choruses and the People 


No dialogue 


Can be put on by anyone without rehearsals, as all 
the Christmas hymns and carols are 
familiar to everybody. 


Special arrangement for Girl Scouts’ Presentation, found 
on page 28 and following pages. 


5 


FOREWORD 


•‘The Star Gleams” may be produced outdoors 
or within. Full and complete directions are given 8 
for building a temporary stage to be used in an out- 
of-door production, as well as directions governing 
the lighting effects, for the making of the costumes 
and the construction of the scenery. 

“The Star Gleams” may be elaborately presented 
with orchestral accompaniment, or it may be very 
simply given before a background of greenery and 
with only community singing. 

Suggestions and directions for presenting “The 
Star Gleams” upon a pageant-car are also included 
in the volume, as it is the hope of the author that 
the picturesque medieval custom will be revived in 
this country in such parts of it where climatic con¬ 
ditions make the outdoor celebration of Christmas 
not only possible but delightful. By reviving the old 
English custom of presenting plays upon a pageant- 
car, the story of the birth of Christ may be carried 
from one corner of any given community to another, 
no matter how remote. With the Pacific Coast and 
the Southern Atlantic States in mind, the pageant- 
car idea was developed. 

Words and music in any church hymnal. 



The Christmas Tower of Emmanuel Church, Baltimore, 
Maryland, illuminated for the presentation of the play. 














/ 
























The Star Gleams 


DIRECTIONS FOR CONSTRUCTING A TEM¬ 
PORARY STAGE. 

This stage to be erected before the main doors 
of the church, “Y” building, or Community Build¬ 
ing. 

Place wooden horses the required width apart and 
lay your floor of planks. Nail down securely. Now 
place wooden portable steps at either end of this 
stage, and tack dark green material all way around 
the outer edge of it. Weight the lower edge. This 
dark material conceals the wooden supports of the 
stage. 

Upright supports are now erected to hold the 
drop-curtain. These supports are placed back from 
the outer edge of the stage far enough to leave a 
clear pathway straight across the front of the stage. 
This uncurtained space represents “a street in Beth¬ 
lehem.” On this front street appear the Shepherds, 
Kings and their Attendants, and the Spirit of the 
Star. 

A curtain suspended from wire runs from one 
support to the other. It is weighted at the bottom. 
Make the curtain of dark material and in two parts, 
divided in the center. Attach it to the wire by brass 
rings so that it may be easily and swiftly worked. 
This curtain conceals the tableau grouped around 
the Manger. 

A huge Star shows above this curtain, directly in 

7 


8 


THE STAR GLEAMS 


the center. The star is illuminated before the In¬ 
terlude is presented and shines until the curtains are 
withdrawn to reveal the tableau. It is snapped off 
then and remains unlighted till the curtains are closed 
upon the tableau. It remains shining the remainder 
of Christmas Eve. 

You erect this stage directly before the church or 
building. If the doors are double, open them wide, 
secure them, and let the persons taking part in the 
tableau pass into position while the front scene is 
on. A curtain of night-blue is suspended in this 
opening. It is sprinkled with silver stars. This 
back-drop is stretched tight across the opening and 
weighted heavily at the bottom. The members tak¬ 
ing part in the tableau slip in and out through the 
openings at either side of the drop. If musicians 
play during the action of the Interlude, they are 
grouped directly back of this drop and are thus con¬ 
cealed from the audience. Trombones make the most 
effective accompaniment: tenor, alto, bass and so¬ 
prano horns. Violins with harp obligato if possible 
should be used to represent heavenly voices sing¬ 
ing. 

Now, construct the Manger from boards, leaving 
an opening at the back. Place the Manger well for¬ 
ward on the stage, but behind the front drop. Place 
it directly center and fasten it securely to the floor. 
The Manger thus should stand just behind the cen¬ 
ter opening of your front curtain. It is wired for 
lighting and filled with clean straw. Straw is scat¬ 
tered around the floor close to it. Place strong bulbs 
in the Manger—one white and two amber. This 
gives a soft but powerful ray. This light is turned 
on when the light in the Star above the curtain is 
switched off. It signifies that the Light has come to 
live among us on earth. No infant is placed within 
the Manger. This Ligh+ signifies the presence of 
the Holy Child. 


THE STAR GLEAMS 


9 


A simple rustic bench stands to the right of the 
Manger. Here will sit the Madonna, gazing in ten¬ 
der adoration down upon the Babe. The light il¬ 
lumines her face. To the left stands Joseph, lean¬ 
ing on his staff and looking down upon the sleeping 
Child. A little forward from the Manger, and fac¬ 
ing the Madonna, kneels St. Anne. She is profile to 
the audience, her hands are raised, clasped in adora¬ 
tion. She must not obscure the figure of the Ma¬ 
donna. All figures are focused around the Mother 
and the Child. 

Angels, blowing through golden trumpets, stand 
back of the Manger; two majestic figures they are, 
with wings curving upward and inward as they stand 
facing each other from the extreme right and left 
of the stage. They are standing profile to the audi¬ 
ence and flat against the back-drop. Long slender 
golden trumpets are held to their lips. Angels touch¬ 
ing golden harps and lyres kneel either side of the 
Holy Family—but at the extreme right and left. 
Beside the Manger kneel cherubim—one at either end 
of it, their hands in prayer as they gaze upon the 
sleeping Child. At the extreme front of the tab¬ 
leau, arranged just inside the front-drop, right and 
left, are additional angel groupings. All look toward 
the Manger. Outside the front curtain—extreme 
right and left—are two figures representing the Old 
and New Testament. These two figures slip into 
place just before the showing of the tableau, and 
just as the light in the large Star above the curtain 
is shut ofif. They draw back the curtain before the 
tableau and stand silent during its revealing. Then 
close the curtains. They slip behind again when the 
light of the Star is switched on. 

DIRECTIONS FOR PRODUCING THE 
CHORAL. 

Two Choruses.— One, unseen, to represent Heav- 


10 THE STAR GLEAMS 

enly Chorus. Second Chorus to lead community 
singing. . 1 

Have your community chorus face toward the au¬ 
dience, otherwise the effectiveness of their leader¬ 
ship is lost. Distribute as widely as possible copies 
of this text among the people so that everybody may 
sing. If possible, have scattered among this throng 
in the street additional leaders in the singing who 
carry torches or lanterns to illuminate these pages. 

Trombones for community chorus: Violins, cellos, 
harp for Heavenly chorus. 

DIRECTIONS FOR USE IN PAGEANT-CAR 
PRESENTATION OF “THE STAR 
GLEAMS.” 

Omit angels other than cherubim kneeling beside 
the Manger. 

Erect the supports for your curtain concealing 
the tableau well back toward where the driver sits. 
Two sets of supports are erected: one set for the 
front curtain, the other to hold the back-drop. 
Your curtain runs all the way round from the back¬ 
drop toward the center of the picture-frame; parts 
in the middle and is drawn back all the way round, 
thus permitting the tableau to be seen from three 
points of view, as your stage now has “three sides.” 
On the pageant-car place a throne-chair. This 
stands directly behind the driver. Fasten it securely 
to the floor. Upon this chair sits the enthroned 
Madonna. The chair must stand upon a raised dais. 
At her feet, on the steps of her throne, are seated 
cherubim. They play upon golden harps as they 
look toward the Manger. 

St. Joseph and St. Anne assume the same posi¬ 
tions—one posed either side of the Manger. 

The figures appearing in the tableau are carried 
from point to point in the community on the 


THE STAR GLEAMS 


ii 


pageant-car. They are concealed behind the cur¬ 
tain and within the shadow-box or picture-frame. 
The Shepherds, Kings and their Attendants, and the 
Spirit of the Star, are carried from place to place 
in motor cars. A portable pair of steps is let down 
from the pageant-car to permit these members of the 
cast to appear upon the pageant-car. All the front 
space is used by these members of the Interlude in 
the first scene of the play. A huge Star shines 
above the tableau-frame. It is seen when the car 
approaches. It is seen vanishing again into the night 
as the car starts away to show the Christmas story 
at some other point in the city. 

Community singers are gathered at every point 
the car is to appear. Other singers follow in motor 
cars. The musicians may also be carried from place 
to place. 

Where a flat trolley truck is not available the Inter¬ 
lude may be presented upon a pageant-car stage which 
is erected upon any open motor truck. Thus com¬ 
munities—like Pasadena—where the trolley line has 
not penetrated, may still send their pageant-car from 
point to point in the community, and into far out¬ 
lying districts where scattered peoples may listen 
to this most exquisite of stories. In California the 
open motor truck is used for pageantry. 

INDOOR PRESENTATION 

An indoor presentation of the Interlude may be 
given very simply before a background of greenery 
or given with simple curtain sets used in the out-of- 
door production. The simplicity of the Interlude 
makes it possible to present it in any public building 
or in any out-of-door spot—in a band-stand in the 
park, or upon the temporary stage erected before 
the doors of the church, the “Y” Community Club, 


12 


THE STAR GLEAMS 


Civic Center, in the Armory, the University, School, 
Club, or the private home. 

In the Church, it may be used in connection with 
the Sunday-School celebration of Christmas; pre¬ 
sented just before the illumination of the Christmas 
tree and the giving of gifts. 

LIGHTING EFFECTS. 

Beside the light in the Star, and the light in the 
Manger, the lighting is very siijiple. In an out-of- 
door production, if it is possible to do so, make a 
“shadow-box” by wiring for the use of soft amber 
bulbs in the upper corners of the picture-frame, and 
on the floor. Dim the footlights. The upper lights 
touch the stars in the background and angels’ wings. 
When not possible to wire for lights, the use of hand 
flashlights is advisable. The Madonna has one con¬ 
cealed in her hands as they lie in her lap. This 
focuses a light upon her face. The Spirit of the 
Star carries one. The shield he carries conceals it 
and helps him to focus a light upon his face. With 
the light in the Manger flooding the scene, no other 
illumination is required. If the enthroned Madonna 
seen in the pageant-car version requires additional 
lighting effects, these pocket flashlights used skil¬ 
fully and placed securely, give excellent results. No 
wiring at all is then required, other than that seen 
in the large Star. 


COSTUME DESIGNS 


Madonna.— Costume worn by Sisterhood. The 
habit is of rich bright blue. Head and throat 
swathed in soft white material, the long veil of 
a lighter shade of blue than is the habit. Sleeves 
in the habit of white. Made flowing. Lower 
edge of the sleeve decorated with a design in 
gold. This is painted on. The same golden 
design ornaments the swathing cloth about the 
throat, but only on the extreme outer edge. 
Golden halo is worn. 

St. Anne.— An aged woman in fawn-colored habit 
with white sleeves gathered tight at the wrist 
and ornamented with a gold design. Head and 
throat swathed in cream-colored unbleached cot¬ 
ton. Long flowing head-dress of unbleached cot¬ 
ton. It reaches the edge of her skirt. Sandals. 
Halo. 

St. Joseph. An old man with flowing white beard 
and hair. Habit of wine-red girdled at the 
waist with a cord. Throat, sleeve and front of 
the habit decorated with design in gold. A short 
cape falls from the shoulder, reaches the waist. 
It is of red-purple, has a broad design in gold 
along the outer edge. A tall, shepherd’s staff 
to lean upon. Halo. Sandals. 

Shepherds’ Costumes.— Made of coarse brown 
canton flannel. A tunic reaching below the 
knees. Girdled with hemp. Rude sandals se¬ 
cured with leather thongs. One shepherd wears 
13 


14 


THE STAR GLEAMS 


a leopard skin for a cape. To make this, use 
orange canton flannel and spot it with black 
paint. One shepherd carries a small lantern, 
one carries a crook, one has a lamb wrapped 
in his rough cape. 

Three Kings’ Costumes.—First King wears cos¬ 
tume of bright orange striped with black. Tur¬ 
ban of crocus yellow. Wide soft girdle of 
black, ends finished with fringe golden tassels. 
Gilded sandals. To make this costume, use 
orange-colored cambric and paint on the stripe. 
The King’s Attendants wear sleeve tunics of 
dark green; legs and arms stained brown. Carry 
gifts in gilded baskets atop the head. 

Second King: Baggy white trousers gath¬ 
ered at the ankle. Tunic of apple-green, gir¬ 
dled with flashing jewels. Apple-green turban, 
slashed with white, and holds brilliant gems. 
Chains of precious stones. Anklets of jingling 
gold. His Attendants wear tunics of violet 
reaching well below the knees. Bare feet. 
Golden bowls filled with precious gifts carried 
on the head. 

Third King (Nubian King) : Stained brown. 
Pointed black beard. Large hoops of gold 
worn in the ears. Armlets and anklets of bril¬ 
liant smooth enamel. His robe of scarlet and 
ermine. To make ermine, take white canton 
flannel and spot it with black paint. His violet 
cape is lined with ermine. Ermine edges his 
golden crown. One end of the cape is tossed 
over his arm, the other sweeps along the floor. 
He makes genuflections before the Manger. His 
Attendants drop to their knees and, prostrating 
themselves, touch the forehead to the floor three 


THE STAR GLEAMS 


15 


times, arms outstretched. They swing incense 
in brilliantly jeweled and carved censors. Carry 
gifts upon head. 

Spirit of Star (two costumes).—First Costume is 
a PilgrinTs habit of coarse material, the cowl 
drawn well over the face, concealing the fea¬ 
tures. Bare feet. Sandals. Watchman’s lan¬ 
tern. 

The Second Costume is a suit of glittering 
mail, a winged crown, scarlet cape. To make 
the suit of gold cloth, use brown sacking, spread 
on the floor and paint it with gilt paint. Do not 
spread the gilt on material until the costume is 
fashioned. Cut out a tunic. It reaches well 
below the knees. When completed, gild it. Gold 
cord about the waist. Tights worn and golden 
gaiters and sandals. The gaiters are wound in 
spirals, made of strips of gold braid an inch 
wide. Scarlet cape; yellow wig, bobbed. Crown 
with Victor wings that curve toward the ear. 
Carries an immense shield upon which appears 
the arms of Christ upon a brilliant crimson 
field. The Cross and Crown are in white. The 
shield rests upon the floor. The arm passes 
through straps secured across the back. A cir¬ 
cle and Cross in white are upon the crimson 
cape, on the shoulder. 

New Testament. —Youthful figure. Turquoise- 
blue gown reaches the floor, edged with gold 
design around the neck, sleeves, down the front 
and around the bottom. Wide swathing gold- 
and-white girdle made from soft material, fin¬ 
ished with golden tassel. Jeweled crown, high 
in front, receding toward the back. Vari-col- 
ored gems, rubies, diamonds, sapphires, emer¬ 
alds and pearls. Sandals of white with design 


i6 


THE STAR GLEAMS 


in gold. Short blue cape edged with gold de¬ 
sign. The Cross circled with a Crown is car¬ 
ried. In length, the Cross reaches from the 
shoulder, just below the waist. It is held flat 
against the figure, slantwise. Made from heavy 
cardboard, gilded. 

Old Testament.— A dark-eyed, dark-haired char¬ 
acter. New Testament tall, lithe, auburn-haired 
in contrast. Costume of pale gray, hooded. A 
flat circle of gold binds the brow. Hood swathes 
head but does not conceal features or gold band. 
Long flowing cape, gathered at nape of neck. 
Hood attached to it. The tablets of the Law 
borne in the arms. Carried flat against the body. 

Angels’ Costumes.— Flowing robe of white with 
angel sleeves. Design in gold painted around 
neck, sleeves and bottom of the robe. Wings at¬ 
tached to the body by tapes. Slits made in the 
robe beneath the arm-size permit the tapes to 
pass in and around the body, where the ends 
are securely tied. Angels’ wings made of gilt; 
cherubim wings colored to look like Botticelli 
painting. Children’s hair worn flowing or 
bobbed. Star, attached by slender unseen gold 
cord, worn on the forehead just above the hair¬ 
line. Angels loop hair Italian fashion; flat cir¬ 
cle of gold encircles it. 


The Play Begins 


Night. The light of a star grows brighter and 
brighter, until it floods the earth. Music mounts 
higher and higher, as the light brightens. Both bril¬ 
liantly flood the earth. Then heavenly voices are 
heard chanting exultantly, joyously: 

Alleluia! 

Alleluia! 

Alleluia! 

Attracted by the light and the chorus of angels 
the people gather together as they sing: 

“It came upon the midnight clear, 

That glorious song of old, 

From angels bending near the earth 
To touch their harps of gold: 

Peace on the earth, good-will to men, 

From heaven’s all gracious King: 

The earth in solemn stillness lay 
To hear the angels sing. 

Still through the cloven skies they come, 
With peaceful wings unfurled; 

And still their heavenly music floats, 

O’er all the weary world; 

Above its sad and lonely plains, 

They bend on hovering wing, 

And ever o’er its Babel sounds, 

The blessed angel sings,” etc. 

1 7 


i8 


THE STAR GLEAMS 


Again comes a triumphant sweep of melody. 
Heavenly voices sing: 

Alleluia! 

Alleluia! 

Alleluia! 

As the throng gathered in the street gaze upward, 
listening, a Pilgrim approaches the light of the Star. 
Immediately he is questioned: 

People. 

Watchman! Tell us of the night, 

What its signs of glory are? 

Pilgrim. 

Travelers, o’er yon mountain height, 

See that glory-beaming Star! 

People. 

Watchman! does its beauteous ray, 

Aught of joy or hope foretell? 

Pilgrim. 

Travelers, yes! It brings The Day! 
Promised day of Israel. 

People. 

Watchman! tell us of the night, 

Higher yet that star ascends! 

Pilgrim. 

Travelers, blessedness and light, 

Peace and truth its course portends. 

People. 

Watchman! will its beams alone, 

Gild the spot that gave them birth? 
Pilgrim. 

Travelers, ages are its own! 

See! It bursts o’er all the earth. 

People. 

Watchman! tell us of the night, 

For the morning seems to dawn. 


THE STAR GLEAMS 


19 


Pilgrim. 

Travelers, darkness takes its flight; 

Doubt and terror are withdrawn. 

People. 

Watchman, let thy wandering cease: 

Hie thee to thy peaceful home. 

Pilgrim. 

Travelers, lo! the Prince of Peace. 

Lo! the Son of God is come! 

Light from the Star now floods the hills and as 
the throng gazes spellbound, again heavenly voices 
are heard singing: 

Glory! 

Glory! 

Glory be to God Most High! 


People Sing. 

“Hark! what mean those holy voices, 

Sweetly sounding through the skies? 

Lo! the angelic host rejoices, 

Heavenly Alleluias rise. 

Listen to the wondrous story, 

Which they chant in hymns of joy— 

Glory in the highest, Glory! 

Glory be to God most High!” etc. 

Angels chanting hymns of glory pick up the re¬ 
frain : 

Glory! 

Glory! 

Glory be to God Most High. 
Alleluia! Alleluia! Alleluia! 

Golden harps are sounding; the ripples of music 
swell higher and higher. Three shepherds are seen 
approaching, following the light of the Star, listen- 


20 


THE STAR GLEAMS 


ing to the celestial choir. They come wonderingly, 
shading their eyes from the bright light. The throng 
sees them. 

People Sing. 

“While Shepherds watched their flocks by 
night, 

All seated on the ground, 

The angel of the Lord came down, 

And glory shone around- 

‘Fear not/ said He, for mighty dread 
Had seized their troubled minds; 

‘Glad tidings of good-will I bring, 

To you and all mankind. 

“ ‘To you in David’s town this day. 

Is born of David’s line 

The Saviour, who is Christ the Lord; 

And this shall be the sign: 

The Heavenly Babe you there shall find 
To human view displayed, 

All meanly wrapped in swaddling bands, 

And in a manger laid.’ 

“Thus spake the shining seraph- 

And forthwith appeared a shining throng 
Of angels, praising God, who thus 
Addressed their joyful song-” 

(Angel chorus and musical instruments join in.) 

“Glory to God! 

Peace on the earth! 

Good-will to men! Alleluia! Alleluia!” 

The Shepherds kneel. They raise their hands in 
adoration. Then rising, they sing—and the people 
join them: 

“Oh, little Town of Bethlehem! 

How still we see thee lie. 





THE STAR GLEAMS 


21 


Above thy deep and dreamless sleep, 

The silent stars go by. 

Yet in thy dark streets shineth, 

The Everlasting Light! 

The hopes and fears of all the years 
Are met in Thee to-night. 

For Christ is born of Mary, 

And gathered all around, 

While mortals sleep, the angels keep, 

Their watch of wondering love. 

Oh, morning stars together, 

Proclaim the holy birth, 

And praises sing to God, your King, 

And peace to men on earth. 

Oh, holy Child of Bethlehem! 

Descend to us,.we pray. 

Cast out our sin, and enter in! 

Be born in us to-day. 

We hear the Christmas angels, 

The great glad tidings tell; 

Oh, come to us: abide in us. 

Our Lord Emmanuel!” 

Angels’ voices singing swell higher, more triumph¬ 
antly. The Shepherds listen reverently and in awe. 
Again and again comes the ringing, joyous cry: 
Glory! 

Glory! 

Glory be to God Most High. 

The people in the street pick up the glad tidings. 
They sing: 

“Hark! the herald angels sing, 

Glory to the New-born King! 

Peace on earth and mercy mild, 

God and sinners reconciled. 


22 


THE STAR GLEAMS 


Joyful all ye nations rise! 

Join the triumph of the skies! 

With angelic hosts proclaim, 

Christ is born in Bethlehem! 

Christ, by highest heaven adored! 

Christ, the everlasting Lord. 

Late in time behold Him come, 

Offspring of the Virgin’s womb. 

Veiled in flesh the God-Head see! 

Hail! Incarnate Deity! 

Pleased as man with man to dwell, 

Jesus, our Emmanuel. 

Mild He lay His glory by, 

Born to raise the sons of earth. 

Born that man no more may die, 

Born to give them second birth. 

Risen with healing in His wings. 

Hail! the Son of Righteousness! 

Hail! the Heaven-born Prince of Peace !” 

While the people are singing, the First King and 
his Attendants approach. The Shepherds see them. 
They point; peer. The youngest shepherd is lying 
on the ground, keeping the lamb warm next his 
body, wrapped in his coarse cape. The Shepherds 
bow before the magnificence of the King. Still he 
approaches—and the people sing: 

“Three wise kings of Orient are! 

Bearing gifts, they travel afar 

Field and fountain, moor and mountain,— 

Following yonder Star. 

Star of wonder! Star of Might! 

Star of royal beauty bright. 

Westward leading, still proceeding, 

Guide us to Thy perfect Light.” 


THE STAR GLEAMS 


23 


The First King stands now directly in the path 
of the Star. He salutes it; then raises his hand in 
signal for his Attendants to approach and place their 
gifts before the Star. 

First King sings: 

“Born a King on Bethlehem’s plain, 

Gold I bring to crown Him again,— 

King forever! ceasing never 
Over us all to reign.” 

People and King and Attendants sing: 

“Star of wonder, Star of Might. 

Star of royal beauty bright,— 

Westward leading, still proceeding, 

Guide us to Thy perfect Light.” 

The King and his Attendants take their place op¬ 
posite the Shepherds, and from out the shadows the 
Second King comes, bearing gifts: 

Second King sings (after genuflections) : 
“Frankinscence to offer have I, 

Incense owns a Deity nigh, 

Prayer and praising, all men raising, 

Worship Him, God most High.” 

As the People chorus, “Star of Wonder, Star of 
Might,” etc., the Attendants approach, prostrate 
themselves in the light of the Star. Then shall they 
rise and join the First King’s Attendants. The Third 
King approaches: 

Third King sings: 

“Myrrh is mine; its bitter perfume 
Breathes a life of gathering doom; 
Sorrowing, sighing, bleeding, dying,— 

Sealed in a stone-cold tomb” . . . 


24 


THE STAR GLEAMS 


Everybody sings: 

“Star of Wonder! Star of Might! 

Star of royal beauty bright,” etc. 

The Kings are grouped right on the front scene— 
the Shepherds are on the left. 

People, Kings and Shepherds sing: 

“Glorious, now behold Him arise! 

King and God and Sacrifice! 

Alleluia! Alleluia! 

Earth to heaven replies— 

Star of Wonder! Star of Might! 

Star of royal beauty bright! 

Westward leading, still proceeding, 

Guide us to Thy perfect Light.” 

Full sweep of melody from orchestra and all voices 
in glad triumphant chant: 

“Glory to God! the sounding skies, 

Loud with the anthem ring. 

Peace to the earth! Good-will to men! 

From Heaven’s eternal King . . . 

Light on thy hills Jerusalem, 

The Saviour now is born! 

More bright on Bethlehem’s joyous plains, 

Breaks the first Christmas morn. . . 

Alleluia! 

Alleluia! 

Alleluia!” 

Gradually the melody diminishes until only the 
stringed instruments are playing softly the prelude 
to “Silent Night.” And while playing, the curtains 
before the tableau are drawn away, revealing the 
Manger and the Mother sitting beside it, while ador¬ 
ing angels touch their golden harps, and St. Joseph 
and St. Anne look upon Mother and Child in rev- 


THE STAR GLEAMS 


25 


erent love and awe. The light from the Star fixed 
above the tableau-frame is now off. Only the light 
from the Manger shines softly. It touches the sweet 
face of Mary as she leans above the Child. Kings 
and Shepherds drop on their knees. The gifts are 
seen placed at the feet of the Child before the 
Manger. The prelude ripples into song'and every¬ 
body joins in singing: 

“Silent night; Holy night! 

All is calm; all is bright. 

Round you Virgin-Mother and Child, 

Holy Infant, so tender and mild, 

Sleep in heavenly peace, 

Sleep in heavenly peace. 

Silent night; Holy night! 

Shepherds quake at the sight— 

Glories stream from Heaven afar, 

Heavenly host, sing Alleluia! 

Christ the Saviour is born, 

Christ the Saviour is born! 

Silent night; Holy night! 

Son of God; Love’s pure Light, 

Radiant beams from Thy Holy face, 

With the dawn of redeeming grace. 

Jesus, Lord, at Thy birth, 

Jesus, Lord, at Thy birth! 

Tenderly, sweetly the hymn to the Child dies 
away. Again the ripple of harp and lute. Cherubim 
and angels sing: 

“Sleep, my Saviour, sleep. 

On Thy bed of hay; 

Angels in the spangled heavens, 

Sing their gladsome Christmas carols— 

Till the dawn of day.” 


26 


THE STAR GLEAMS 


Now shall the People join in singing: 

“Sleep, my Saviour, sleep; 

On Thy bed of hay; 

Ere the morning Angel cometh, 

To the moonlit olive garden, 

Wiping tears away. 

Sleep, my Saviour, sleep; 

Sweet on Mary’s breast; 

Now the Shepherd’s kneel adoring, 

Now the Mother’s heart is joyous, 

Take a happy rest.” 

Exquisite and tender the melody plays, then sweep¬ 
ing up into rapture as he who was first seen dressed 
in the guise of a Pilgrim now reappears as the Christ¬ 
mas Star. Radiant he advances, clad in shining 
armor, bearing the shield of the Church—the Arms 
of Christ. His head is crowned with brightness, his 
face glows under a soft light. He addresses the 
people: 

“Rejoice! Be of exceeding great joy: For unto 
you is born this day in the City of David, a Saviour 
—Christ, the Lord. Go ye, therefore, to all people 
and spread the glad tidings of Peace on Earth, Good¬ 
will to all Men. Rejoice! Rejoice, your Saviour is 
born!” 

Joyously everybody hears the message of the Star. 
Together all sing: 

“Oh, come, all ye faithful, joyful and triumphant; 

Come ye, oh come ye, to Bethlehem! 

Come and behold Him, born the King of Angels! 

Oh, come, let us adore Him! 

Oh, come, let us adore Him! 

Oh, come, let us adore Him! 

Christ, the Lord.” 


THE STAR GLEAMS 


2f 


Sing, choirs of angels, sing in exultation! 

Sing, all ye citizens of heaven above! 

Glory to God, in the highest, glory! 

Oh, come, let us adore Him! 

Oh, come, let us adore Him! 

Oh, come, let us adore Him! 

Christ, the Lord. 

Yea, Lord, we greet Thee, born this happy morning, 
Jesus, to Thee be glory given; 

Word of the Father, now in flesh appearing; 

Oh, come, let us adore Him! 

Oh, come, let us adore Him! 

Oh, come, let us adore Him! 

Christ, the Lord. 

In a sweeping crescendo of melody the music 
sounds. Then the curtains before the tableau are 
closed. Once more the light from the Star above 
the picture-frame shines forth. The people scatter 
to carry the message of the Christmas Star to all 
the corners of the city. And as they depart, they 
sing: 

“Everywhere, everywhere, Christmas to-night! 
Everywhere, everywhere, Christmas to-night! 
Christmas in lands of fir and pine, 

Christmas where snowpeaks stand solemn and white. 
Christmas where cornfields lie sunny and bright, 
Everywhere, everywhere, Christmas to-night. 

The Christ-Child, who comes is the Master of all; 
No palace too great, and no cottage too small, 

The angels who welcome Him sing from the height, 
Everywhere, everywhere, Christmas to-night!” 

Groups of carol singers depart in various direc¬ 
tions to sing the Christmas carols through all the 


28 


THE STAR GLEAMS 


dark streets of the city. The light from the depart¬ 
ing torches is seen like rays from the Star, as stead¬ 
ily, brightly it shines forth into the night. 


SPECIAL ARRANGEMENT OF THE PLAY FOR 
THE GIRL SCOUTS AND THE Y. W. C. A. MADE 
AT THE REQUEST OF THE DIRECTOR OF THE 
METROPOLITAN BOSTON DIVISION OF GIRL 
SCOUTS. 


While the people are gathering to witness “The 
Star Gleams,” the Scouts and Y. W. C. A. sing: 
“Follow the Star Gleams,” and the Marching Song 
of the “Girl Guides.” 

The Play Begins 

A trumpet blast sounds. Now appear the figures 
representing the Old and New Testament. They 
take their places. One stands either side of the stage. 
They draw the curtain back when the tableau is to 
be displayed. They close the curtains when the 
tableau is over. Thus, the Old Testament and the 
New Testament are the pillars which frame in and 
support the Holy Family—symbolizing the union of 
the Fatherhood of God and the brotherhood of all 
mankind in the Spirit of the Manger. Now follows 
another flare of trumpets. Then one who shall be 
called the Spirit of the Girl Scouts appears. She 
salutes the Star shining over the darkened tableau- 
frame, wheels and, still standing at salute, shall cry 
aloud: 

“The spirit of a little Child led all the world to 
a humble Cradle in Bethlehem on Christmas night 
long ago. O, come ye, all who are gathered here to- 


THE STAR GLEAMS 


29 

Follow 


night—return once more to the Manger, 
the gleam of the Star.” 

And then shall all the girls and young women 
sing together: 

“Alone in a manger, 

No cot for His bed, 

The little Child Jesus 

Lay down His sweet head. 

The stars in the sky, 

Looking down from on high. 

Saw the little Child Jesus 
Asleep where He lay.” Etc. 

And after all the verses shall be sung, then shall 
the Spirit of the Girl Scouts salute her associates and 
return among them. 

Then shall be heard sweet strains of heavenly 
music. Louder and louder it swells. Angelic voices 
sing: 

“Hosanna! Hosanna! Hosanna in the highest!” 

Then shall the Christmas play begin. 

(See the pages preceding) 

At the end of the play there comes another trumpet 
blast. The Commander of the Girl Scouts appears, 
holding aloft her torch. She travels toward the 
Spirit of the Star. She dips her torch in salute to 
the symbolic Light carried by the Spirit of the Star. 
Now she turns, faces her associates. Cries aloud: 

“Carry the Light of the Christmas Star through 
all the dark places. Shed abroad the Light from on 
High. For Love and Joy for all people has come 
down from Heaven to live among us. Come, Fol¬ 
low the Gleam of the Star.” 


3 o THE STAR GLEAMS 

Then shall come forward many who bear torches 1 
and they dip in reverent salute their lights before the 
symbolic Light of the Star. Then these torch-bear¬ 
ers become Leaders of groups of carol singers and 
pass out at the head of the singers into the streets 
of the community. As they start away, each sep¬ 
arate group of singers travels in diverging direc¬ 
tions, and all are singing: “Noel! Noel! Noel! 
Sing we Noel.” 


FOLLOW THE GLEAM 


To Knights in the days of old, 

Keeping vigil on mountain height, 

Came a vision of Holy Grail— 

And a voice through the waiting night; 

Follow, follow, follow the Gleam 
Banners unfurled over the World; 

Follow, follow, follow the Gleam 
Of the Chalice that is the Grail. 

And we who would serve the King, 

Keeping watch here along the way, 

In the consecrate silence, know 

That the challenge still sounds today; 

Follow, follow, follow the Gleam, 

Standards of worth over the Earth; 

Follow, follow, follow the Gleam 

of the light that shall bring the dawn. 

— Y. W. C. A. Marching Song. 


FINIS 

Note.— Words and music to all hymns and chorals used 
in “The Star Gleams” are to be found in any church 
hymnal. 


31 






























































WHY THE CHIMES RANG. A play in one act by Elizabeth 

McFadden. Adapted from the story of the same name by R. M. 
Alden. Especially recommended as a Christmas play because: It 
teaches the story of the Christ child, rather than the Byzantine 
legend of Santa^ Claus. It may be adapted to the ritual of any 
Christian denomination by slight changes of costume and setting. 
It offers a rare opportunity for exquisite church music. It may be 
given in the barest room, against a background of Christmas greens, 
or it may be presented with the most lavish equipment of a_ profes¬ 
sional theatre, yet both productions will thrill the imagination and 
touch the heart. It teaches the beauty of a charity that gives heart 
and service as well as gold. Price, 35 cents. 

THE CHRISTMAS STORY, dramatized by Virginia A. Gris- 

wqld. This is the Bible story of the birth of the Christ, using the 
Bible language as far as possible. It lends itself to four scenes: 
The hill country , of Judea, the throne-room of Herod, the market¬ 
place in Bethlehem and the stable with the manger. It can be 
produced in the simplest manner on a platform, or with all the 
Oriental setting and accessories which the imagination and means 
can provide. Plays about an hour, and any number of people, adults 
and children, can be used. Makes an admirable Christmas enter¬ 
tainment and is -well, adapted for the use of churches and schools. 
Price, 35 cents. 

THE NIGHT BEFORE CHRISTMAS. A Christmas play in 

three short acts by William Patterson Taylor. The NIGHT BE¬ 
FORE CHRISTMAS is a little play in three acts which may be 
produced well within an hour. The first act presents the wondrous 
and hurried night before Christmas preparation activities in Santa’s 
workshop at the North Pole. The second act is a night before 
Christmas home bed-chamber incident, involving the desperate situa¬ 
tion resulting from a childish difference between two brothers, which 
difference—“made up” true—introduces, also, the woeful possibilities 
of Santa’s calamitous displeasure. (In this and the last act the 
children’s classic, “The Night Before Christmas,” is dramatized.) 
In the third act “All’s well that ends well.” A quartette supplies the 
music. This little play has grown during years of local use by the 
author and others. Its unbroken success in stirring and impressing 
the children (and the “grown-ups,” too—whom, also, the author 
aimed to reach) was urged as a reason for its publication. Strongly 
recommended as an entertainment for the holiday season. Price, 30 
cents. 

A DREAM ON CHRISTMAS EVE. A very pleasing enter¬ 
tainment for little folks, by Ina Home. Time about thirty minutes, 
but it can be lengthened to any duration by the further introduction 
•of each child’s specialty. The costumes are according to the char¬ 
acter represented and are easily made. The story is the dream of a 
little girl on Christmas eve, in which she views the good things 
which she is to receive on the morrow. Santa Claus enters and 
while filling the stocking tells a story of the little people to whom 
he gives his presents. Then the Christmas pudding enters and tells 
how she was made. Then the pumpkin pie, the holly, mistletoe, ice 
cream, crackers, candy, etc., enter and tell their stories. The play 
is easy to give and can be held in the class room, Sunday-school 
or a home, Price, 30 cents. 

THE TOY SHOP. A new and original entertainment for children 
by F. S. Isham and Edward Weitzel, with some new and up-to-date 
music. No special number required. Particularly adapted to school 
or Sunday-school entertainments. One of the best entertainments for 
children published. Price 30 cents. 


SAMUEL FRENCH, Publisher, 28-30 West 38th Street 






LIBRARY OF CONGRESS 


0 034 076 592 8 




SOUTHUMBERLAND’S YULE-TIDE, a fascinating and 

practical community Christmas masque, by C. Arthur Coan. This 
delightful festival is written in the spirit of the traditional Yule 
celebrations of olden days, and is so conceived as to permit the 
whole school or community, old, young, rich or poor, to take an 
active part. The costumes are fully described and the instructions 
are in detail. Suitable for community or school use. Price, Sd 
cents. 


MOTHER GOOSE’S CHRISTMAS VISIT. An entirely new 

and original entertainment for children by Edith Thompson Langley. 
This very pleasing entertainment embraces most of the Mother 
Goose characters, and any number of children, boys and girls, 
young and old, can take part. Songs and specialties can be 
introduced and the action prolonged to any length of time desired. 
It introduces Santa Claus and the Christmas tree and all the favorite 
characters of the little ones. It is an admirable entertainment for 
the Christmas holidays, and is printed complete with music, sug¬ 
gestions for staging, costuming, etc. Flays about an hour. This 
entertainment has always been a great success wherever produced. 
Price, 30 cents. 





THE GIFT. A symbolic play in one act by Marie A. Foley. The 
action passes in a simple room of a little house near Judea during 
the lifetime of Our Lord. The characters are two men, one woman 
and three children. The costumes—tunic draperies—make it easily 
possible to be played by an all female cast. Joel, a little lame boy, 
firmly believes the Galilean can cure him of his lameness if he will 
go and ask Him. In preparation the boy makes a wreath of white 
roses as a gift for the Galilean. Huldah, with whom Joel lives, a 
woman with neither heart nor imagination, ridicules the boy’s faith, 
throws the wreath into the fire and frustrates the boy’s going by 
leaving him in sole charge of her father, an aged and infirm man. 
A stranger, blind, also seeking the Galilean, to regain his sight, 
stops at the door for food and rest. The boy takes him in. Acci¬ 
dentally the stranger comes in contact with the charred wreath 
which Joel has dragged from the fire. The stranger hears about the 
wreath’s purpose and offers to carry it to the Galilean. Joel explans 
its sorry plight. “The Galilean will understand,” answers the 
stranger. “But it is black and ugly,” exclaims the boy. “But not 
the heart that fashioned it,” he is answered. The stranger then 
learns of the boy’s desire to be cured and offers himself to remain 
there with the aged man while the boy goes to get his heart’s desire. 
The boy accepts the stranger’s great sacrifice (much to the disappoint¬ 
ment of the old invalid) and leaves the house. However, in a few 
minutes the boy is back again crying out that he .cannot go. “It 
is much worse being blind than being lame.” The stranger is put 
upon the road by the boy to seek the Galilean. The boy watching 
him through the window sees the stranger meet with a Traveller, 
sees the giving of his burnt wreath to the Traveller, its trans¬ 
formation into beautiful crimson roses as it touches the Traveller’s 
hands, then the return of the stranger no longer blind to the house. 
In his joy the boy leaps across the room to the door to find that his 
crutches have dropped to the floor and he has leaped across the 
room unaided—cured. The play ends with much joy for all three 
in the room while outside is heard the voice of the unbeliever, 
“Strange we missed Him; He must have passed this, way,” The 
stranger answers, “Yes, He passed this way.” Price, 35 cents. 



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SAMUEL FRENCH, Publisher, 23-30 West 38th Street 

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